Tag: Portland OR

New Video: JOVM Mainstays Mayflower Madame Release a Gorgeous and Trippy Visual for Menacing “Sacred Core”

Mayflower Madame — Trond Fagernes (vocals, guitar, bass), Havard Haga (guitar) and Ola J. Kyrkjeeide (drums) — is a rising Oslo Norway-based psych rock/post-punk act that can trace its origins back to 2011. The band’s hazy and smoky sound was conceived in and inspired by the band’s gritty surroundings: their first rehearsal space was a desolate, industrial building, which they shared with a local carwash company. After their formation, they quickly recorded a four-track demo. which led to the band being named “Unsigned Band of the Week” on one of Norway’s biggest radio stations. 

Shortly after their four-track demo, the band then spent the next few years touring and playing shows across Scandinavia, carefully honing their sound along the way. The band’s full-length debut, 2016’s eight track Observed in a Dream was brooding and icy psych rock with a dark romanticism. Based on the success of their full-length debut, the Oslo-based psych rock band toured across North America and Europe to support the album. The band followed Observed in a Dream with 2018’s Premonition EP,  four songs of apocalyptic love songs. 

Building upon a growing profile. Mayflower Madame supported Premonition EP with more touring, including the European festival circuit with stops in France, Germany, the UK and Eastern Europe. And as a result of the band’s touring schedule, they’ve shared stages with an impressive and growing list of artists including Killing Joke, Moon Duo, Night Beats, Psychic Ills, Froth, The Underground Youth, Crocodiles, Cosmonauts and La Femme. 

Released earlier this year through a collaboration between French label Only Lovers Records, Portland‘s Little Cloud Records and Parisian label Icy Cold Records, Prepared for a Nightmare, the Norwegian psych rock JOVM mainstays’ latest album finds them further developing their unique blend of psych-noir and post punk with elements of shoegaze and noise rock. So far I’ve written about two of the album’s previously released singles — the shoegazer yet menacing “Vultures” and “Swallow” — and while both tracks may bring The Black Angels, My Gold Mask, and Chain of Flowers to mind, they also evoke the dread and despair of our horrible sociopolitical moment. 

“Sacred Core,” Prepared for a Nightmare’s third and latest single continues a run of brooding and menacing psych rock, centered around swirling, shimmering and hypnotic guitars and a propulsive and muscular beat. Unlike its immediate predecessors, which were subtly shoegazer-leaning, “Sacred Core” is even more menacing, recalling The Black Angels’ Directions to See a Ghost while still being atmospheric. “‘Sacred Core’ is a song about getting lost, drifting away and trying to find the way back to your safe haven — guided by swirling, hypnotic guitars and an insistent heavy beat,” the band’s Trond Fagernes says in press notes. 

Continuing their ongoing collaboration with director Astrid Serck, the recently released video for “Sacred Core,” is centered around motion and stillness — and as a result, there’s gorgeous black and white footage of beaches and churches, movement in and around an old house, blinding sunbeams and footage of the band playing shows in Oslo and San Diego. “To me, the song is like an open landscape – it’s grounded, but at the same time moving. I wanted to capture that feeling visually with footage from windmill fields and beaches, where there’s constant movement — like a rhythm, as opposed to the solid ground. A contrast between motion and stillness. Something to hold on to as well as something loose and vibrating,” Astrid Serck says in press notes. 

“The core is what you hold on to. The motion is what you can let go. The sunbeams are blinding you, like a sacred light. The ceiling of a church is another symbol for sanctity. The moon is dancing, in disturbing ways, on the screen. In the video there is also an abandoned house, left with the door open. It´s a metaphor for the feeling of something that is lost, you can go back there, but only the memories are left. In addition there’s live footage of the band filmed from shows in Oslo and San Diego.”

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CHAD · Isolation

Emerging Portland, OR-based indie act CHAD  — founding members Sarah Lane and  Trevor Greely along with Zach Whiton and Alex Widner — can trace its origins to the split up of its founding members’ previous band. Now, as you may recall, the Cameron Spies-produced “I Got Time” found the band quickly establishing a signature sound with Lane’s gorgeous vocals effortlessly weaving through layers of shimmering guitars, a sinuous bass line and boom bap-like drumming. Of course, beyond that, the song was centered around a delicious and playful irony: the song’s narrator may be saying that she has time but in there’s a tacit recognition that in reality, she doesn’t; time is rushing by — and she’s sort of dithering around.

“Isolation,” the Portland-based act’s latest single is a slow-burning bit of 80s inspired,  dream pop centered around shimmering and and arpeggios synths, a sultry, Quiet-storm like bass line and Lane’s come-hither cooing. And while revealing a band that has been expanding upon their sonic palette in a way that recalls Beach House, the song as the band mentions via email is “the social distancing ballad we didn’t know we needed” — with the song evoking the unease and profound loneliness that so many of us are suffering through right now.

 

New Video: Aesop Rock Releases a Cinematic Track off “Freedom Finger” Soundtrack

Ian Matthais Bavitz is a Syosset, NY-born, Portland, OR-based emcee and producer, best known as Aesop Rock. Releasing the bulk of his critically applauded, boundary pushing work through El-P’s Definitive Jux Records, the Syosset-born, Portland-based emcee and producer wound up being at the forefront of the underground and alternative hip-hop scenes of the late 90s and early 2000s. Bavitz has also developed a reputation as a highly sought-after collaborator, who has worked in a number of eclectic creative projects including The Weathermen, Hail Mary Mallon with Rob Sonic and DJ Big Wiz, The Uncluded with Kimya Dawson and Two of Every Animal with Cage. Whether as a solo artist or collaborating with others, Aesop Rock is considered one of hip-hop’s most verbose emcees, developing a flow that features dense and abstract wordplay and incredibly complex inner and outer rhyme schemes. 

Now, if you were frequenting this site last year, you may recall that I wrote quite a bit about Aesop Rock’s collaboration with JOVM mainstay TOBACCO, Malibu Ken, a project that released one of the most interesting and forward-thinking hip-hop albums of the year. Since the release of Malibu Ken’s self-titled debut, the acclaimed Syosset-born, Portland-based emcee has been pretty busy: “I was approached by my old friend Travis Millard to make some original music for Freedom Finger — a crazy space-shooter video game he had been developing with Jim Dirschberger and Wide Right Interactive game studio,” Aesop Rock says in press notes. ““I provided some instrumentals that pop up at various points throughout the gameplay. As the game was being rolled out, the idea arose to have me do three more tracks — this time fully fleshed out songs with lyrics inspired by Freedom Finger’s gameplay. These tracks were intended to accompany some brand new levels that would be made available as downloadable content for the game.

We’ve decided to release all of the music I made for Freedom Finger as a 10” vinyl EP available through Rhymesayers Entertainment. This includes the three full-length vocal tracks as well as their instrumentals, and four more bonus beats that loop throughout the game. Some of these tracks also feature additional instrumentation from my friends and frequent collaborators, Grimace Federation. The game is an absolute blast, and I hope you enjoy the music.  <3" "Drums on the Wheel" Music From The Game Freedom Finger's latest single is centered around a brooding and cinematic, RZA-like production featuring a looping and droning guitar sample and tweeter and woofer rocking boom bap beats -- and it's roomy enough for Aesop Rock's dense bars and mischievous wordplay influenced by the Freedom Finger's gameplay, making the track an unofficial theme song for the game.  Directed by Jim Dirschberger and featuring illustrations by Travis Millard, which were animated by Steven Gong, the recently released video for "Drums on the Wheel" draws from Freedom Finger's gameplay in a way that makes it feel like one of the coolest trailers in the entire world. 

New Video: Caroline Mason’s Surreal and Minimalist Visual for Brooding “If You Want Me To”

Caroline Mason is an emerging, Portland, OR-based multi-instrumentalist, composer, producer and experimental electronic music artist, who from an early age has been drawn to find a connection between the depths of human emotion and how must has the ability to take us to those places within ourselves. 

Mason’s latest single “If You Want Me To” is a brooding yet atmospheric song centered around a sinuous bass line, reverb and delay pedaled guitar, gently accumulating layers of wobbling, arpeggiated synths, Mason’s plaintive vocals and an infectious, ear worm of a hook. Sonically recalling Us-era Peter Gabriel, the song thematically touches upon honestly facing oneself and pushing away old habits, old fears and old selves for a bold new future. 

Directed by filmmaker and stylist Christal Angelique, the recently released video was inspired by English fashion designer Gareth Pugh and finds Mason dressed up in a custom, futuristic piece made by Portland-based designer Kate Towers. And in the video we see Mason in the desert, accompanied by a marching army of her doppelgängers. Angelique wanted the piece to be relatable for anyone facing fears and parts of themselves that needed to go. “It is about overcoming the battles within so one can move into their stronger, future self,” Mason says of the song.  

New Audio: JOVM Mainstays Other Lives Release an Intimate and Gorgeous Tribute to a Lost Friend

Over the past few years, I’ve written a bit about the acclaimed Portland, OR-based indie rock act and JOVM mainstays Other Lives. Initially formed in Stillwater, OK in 2004, the band wrote, recorded and released an album under the name Kunek but a decided change in sonic direction and songwriting approach necessitated a re-branding.  Since the band renamed themselves, they’ve released their critically applauded sophomore album, 2015’s Rituals, which helped establish their sound — a lushly cinematic and orchestral sound that frequently draws comparisons to Nick Cave and the Bad Seeds, The National and Ocean Rain-era Echo and the Bunnymen among others.

Now, as you may recall, the JOVM mainstays’ highly-anticipated, self-produced, third full-length album For Their Lives is slated fro an April 24, 2020 release through ATO Records. Deriving its title from one of the earlier songs the band wrote for the album, Other Lives’ third album reportedly finds the members of the band reconnecting with the rural life they had known as children. Before the writing and recording of For Their Lives, the band’s frontman Jesse Tabish and his wife Kim Tabish left Portland and rented a friend’s A-frame home in Oregon’s Cooper Mountain region, surrounded by towering trees — and no neighbors in site. “Something about the title feels both inclusive and also of a larger scene,” explains Other Lives’ primary songwriter and frontman Jesse Tabish. “The song also embodied the direction we wanted to take.”

Naturally, the bucolic setting wound up heavily inspiring the album. “My wife, Kim, and I moving to this house and making a new life and music together was a huge part of this record,” Jesse Tabish says in press notes. “I found there was too much distraction in Portland, but here we could dedicate ourselves to work. I found that I returned to my music vocabulary in a natural way, using certain types of chords or keys, and also the way I sing. Living with roommates in Portland, I was too shy to sing in front of them. But here, I felt free.” Interestingly, that sense of freedom and togetherness carried over to the way the album was written and recorded: the album is arguably the most collaborative effort they trio has written to date — and it includes contributions from drummer Danny Reisch, who appeared on Rituals and backing vocals from Jesse Tabish’s wife Kim. “We really set out to make a band record,” Tabish says.

As the album’s material came together, they went towards a much different creative approach than its immediate predecessor: the band avoided re-working and refining tracks, instead choosing to record different arrangements of songs “to capture the vibe of something more instant,” Tabish explains. “We were adamant that For Their Love would have no tricks and nothing to hide behind, which we’d been doing psychologically, as well as as musically. We wanted ten songs that held up by themselves.” This was partially inspired by Jesse Tabish’s personal efforts to emerge from “hiding” and re-engaging with the outside world by “getting real with myself.” as he puts it. Before and during the writing and recording sessions, the band — who are also lifelong friends — had a number of ongoing conversations about the current state of our world. And as a result, the album’s material thematically questions, observes, laments and hopefully finds the slightest hope in the individual and ourselves. “Characters sometimes venture into spiritual, religious or institutionalized endeavors — though I’ve personally found that self-worth is more important than any teachings or preaching,” Tabish says.

Last month, I wrote about the rousingly anthemic album single “Hey Hey I.” Arguably one of the most politically charged songs of their growing catalog, the song is a forceful commentary on our contemporary world: at the core is the realization that the American Dream that so many hard-working Joes and Janes have bought and sold for generations is a lie. For Their Love’s latest single “We Wait” continues a remarkable run of cinematic material, but centered around a fearlessly unadulterated intimacy. It’s one of many songs in which Tabish digs deep and gets uncomfortably real, with the song finding Tabish publicly confronting one of the darkest corners of his life for the first time. 

“When I was 15, I formed the All American Rejects. This was my high school band,” Other Lives’ Jesse Tabish writes in an statement on the song’s backstory. “Always there in our everyday life were Tommy and Jennifer, a member’s older sister and brother-in-law. Tommy was the older brother I never had. Kind and wise, he was my mentor and family to me. 

Tommy was shot and killed at the age of 25, on the morning of 30th November. Jennifer, his wife, had hired his murderer.

This event completely devastated and shattered my reality. I quit the Rejects and was very lost. I soon found the piano and started moving towards a deeper place inside, artistically, which has shaped me to this day. For many years, I had avoided this trauma and couldn’t touch the subject. I pushed it out, only for it to haunt me more recently.

Writing this song is the way for me to heal and remember my old pal, Tommy.” 

Much like Reliant Tom’s “Never Mind the Garbage,” “We Wait” manages to be more prescient in a way that its creators could never have imagined. These are dark and very dire times. Many of us are aware of the fact that the end result of the COVID-19 pandemic will be a new and terrifying reality of profound and inescapable loss, economic destruction and hopelessness that will force us to look deep within ourselves. 

New Video: Deathlist Releases a Brooding Visual for Murky Album Single “You Won’t Be Here For Long”

Jenny Logan is a Portland, OR-based multi-instrumentalist and singer/songwriter, who has spent the past few years being very busy as a member of grunge pop trio Loveboys, post-punk act Miss Rayon, guitar pop act Sunbathe, and her solo recording project Deathlist. With her Deathlist, Logan has released a handful of material including 2017’s S/T debut, 2018’s attention-grabbing Fun. and last year’s A Canyon and Loved, which have helped established her sound — a sound that’s influenced by New Order, Suicide and The Jesus and Mary Chain. 

Logan’s fifth Deathlist album You Won’t Be Here for Long is slated for a May 29, 2020 release. Recorded and mixed by Victor Nash at Destination: Universe, the forthcoming album thematically explores loss, grief, survival and love. You Won’t Be Here for Long’s latest single, album title track “You Won’t Be Here For Long” is a slow-burning and murky dirge centered around droning synths, a sinuous bass line, Logan’s husky vocals and tweeter and woofer rocking beats. And while clearly being indebted to the pulsating minimalism of Suicide, the song as Logan explained to New Noise Magazine “is about the temporariness of everything and how stranger it is what we still exist at all.” Considering how dire everything in our world is at the moment, the song’s overall theme seems both prescient and fitting. 

Shot in Red Rock Canyon, outside of Las Vegas, the video is split between black and white home video recorder footage of Lewis hiking and wandering in the desert, and footage of her lying down in a bed of flowers. It emphasizes the eeriness of the song — while illustrating our smallness and fragility within a larger, indifferent universe. 

New Video: Other Lives Release a Cinematic Visual for Anthemic and Politically Charged Single “Hey Hey I”

Initially formed in Stillwater, OK in 2004, the acclaimed Portland, OR-based indie rock act Other Lives wrote, recorded and released an album under the Kunek, but a decidedly change in sonic direction and songwriting approach necessitated a re-branding. And since renaming themselves Other Lives, the band has released critically applauded material, including their sophomore album 2015’s Rituals, which further cemented their sound, a lush, cinematic and orchestrated sound that would likely draw comparisons to Nick Cave and the Bad Seeds, The National and Ocean Rain-era Echo and the Bunnymen among others. 

Other Lives’ highly-anticipated, self-produced, third full-length album For Their Lives is slated for an April 24, 2020 release through ATO Records. Deriving its title from one of the earlier songs the band wrote for the album, the Portland area-based band’s third album reportedly finds the members of the band reconnecting with the rural life they had grown up. Before the writing and recording of For Their Lives, the band’s frontman Jesse Tabish and his wife Kim Tabish left Portland and rented a friend’s A-frame home in Oregon’s Cooper Mountain region, surrounded by towering trees — and no neighbors in site. “Something about the title feels both inclusive and also of a larger scene,” explains Other Lives’ primary songwriter and frontman Jesse Tabish. “The song also embodied the direction we wanted to take.”

Naturally, the bucolic setting wound up heavily inspiring the album. “My wife, Kim, and I moving to this house and making a new life and music together was a huge part of this record,” Jesse Tabish says in press notes. “I found there was too much distraction in Portland, but here we could dedicate ourselves to work. I found that I returned to my music vocabulary in a natural way, using certain types of chords or keys, and also the way I sing. Living with roommates in Portland, I was too shy to sing in front of them. But here, I felt free.” Interestingly, that sense of freedom and togetherness carried over to the way the album was written and recorded: the album is arguably the most collaborative effort they trio has written to date — and it includes contributions from drummer Danny Reisch, who appeared on Rituals and backing vocals from Jesse Tabish’s wife Kim. “We really set out to make a band record,” Tabish says. 

As the album’s material came together, they went towards a much different creative approach than its immediate predecessor: the band avoided re-working and refining tracks, instead choosing to record different arrangements of songs “to capture the vibe of something more instant,” Tabish explains. “We were adamant that For Their Love would have no tricks and nothing to hide behind, which we’d been doing psychologically, as well as as musically. We wanted ten songs that held up by themselves.” This was partially inspired by Jesse Tabish’s personal efforts to emerge from “hiding” and re-engaging with the outside world by “getting real with myself.” as he puts it. Before and during the writing and recording sessions, the band — who are also a lifelong friends — had a number of ongoing conversations about the current state of our world. And as a result, the album’s material thematically “question, observe, lament and hopefully find the slightest hope in the individual and ourselves. Characters sometimes venture into spiritual, religious or institutionalized endeavors — though I’ve personally found that self-worth is more important than any teachings or preaching,” Tabish says. 

For Their Lives’ latest single is the anthemic “Hey Hey I.” Centered around a cinematic arrangement featuring enormous sing and shout along worthy hooks, strummed guitar, shimmering and soaring strings, twinkling keys and xylophone and choir-like backing vocals, the song manages to be the most direct and forceful they’ve written to date, while retaining the cinematic quality that has won them attention. But while being anthemic, the song lyrically addresses the paradigm of the downtrodden and broken working class. At the song’s core, there’s the realization that the American Dream that hard-working Joes and Janes have been sold and bought is a lie. Certainly, with the impact of COVID-10 on countless people we know and love, that realization is coming in with a starkly dire focus. 

The recently released video for “Hey Hey I” is a gorgeously cinematic black-and-white visual shot at the A-frame studio in the Cooper Mountains, where the band recorded the album. “The video is a reflection of the recording process of the album, that took place in the A-frame in the woods,” says frontman Jesse Tabish. “We wanted to portray this process in a natural, organic way, without telling a story but rather showing glimpses of us working together as well as coming together with friends.” 

New Video: JOVM Mainstay Howard Ivans Releases a Sultry and Funky New Single Paired with Hand Drawn Animated Visuals

Throughout the bulk of this site’s almost ten year history, I’ve written quite a bit about the prolific Portland, OR-based JOVM mainstay, singer/songwriter  Ivan Howard. Howard may be best known for stints fronting  The Rosebuds the acclaimed indie supergroup GAYNGS and De La Noche, which featured Howard’s longtime friends and Rosebuds bandmates Robert Rogan and Brian Weeks, and writing Kanye West and Bon Iver. He’s also received attention across the blogosphere and elsewhere with his solo recording project and alter ego Howard Ivans. 

Yesterday, Ivan Howard released his sophomore Howard Ivans album Riviera. “It feels ridiculous to release music in this mayhem, but just maybe someone will enjoy it and forget about everything that is going on for a little while, like I do when I’m listening to music,” Ivan Howard wrote in a statement. “I had a blast making this record. The songs were written with some really great songwriters while i was living in LA a little while back. We’d meet on the spot, write and sing them in a few hours, then take them home to be finished up musically. Common practice in the LA songwriting world — and both exciting and nerve wracking at the same time. You never know how a session would wind up but luckily I think these set of songs ended up pretty great to my ears! Maybe you will dig Riviera too. I give a huge thank you to my co-conspirators: Wallis Allen, Alex & Alex, and Matthew Puckett.

Cowritten by Ivan Howard and Wallis Allen, Riviera’s latest single “It’s Too Late” is a slinky, 80s synth funk-inspired jam centered around a sinuous bass line reminiscent of Patrice Rushen’s “Forget Me Nots” and Cherelle’s “Saturday Love,” brief blasts of horn, four-on-the-floor-like drumming, atmospheric synths and a funky, two-step inducing hook and Howard’s achingly plaintive vocals. Sonically speaking, the song — to my ears — brings a few different things to mind: Phil Collins’ “Sussudio,” and Tears for Fears in particular, but with late night Quiet Storm-like yearning. It’s a slightly uptempo take on what has been Howard’s established sound and aesthetic. 

Kevin Moran and Ivan Howard created the accompanying hand-animated video for “It’s Never Too Late,” and the video is fittingly 80s-inspired: neon bright colors and explosive child-like energy. 

New Video: Oslo-based Psych Rock Act Mayflower Madame Releases a Menacing Visual for Shimmering “Swallow”

Over the past couple of years of this site’s almost ten year history, I’ve managed to write a bit about the rising Oslo Norway-based psych rock/post-punk act Mayflower Madame — Trond Fagernes (vocals, guitar, bass), Havard Haga (guitar) and Ola J. Kyrkjeeide (drums). Formed back in 2011, the band’s hazy and smoky sound was conceived in and inspired by their gritty surroundings: they first rehearsed in a desolate, industrial building, where they shared space with a local carwash company. Shortly after their formation, they recorded a four-track demo, which lead to them being named “Unsigned Band of the Week” on one of Norway’s biggest radio stations.

The band then spent several years touring and playing shows across Scandinavia, carefully honing their sound along the way. The band’s full-length debut, 2016’s Observed in a Dream featured eight tracks of psych rock/shoegaze paired with dark romanticism in a way that was icy, brooding and hauntingly majestic. The Norwegian psych act toured across North America and Europe, followed by 2018’s Premonition EP — four songs of apocalyptic love songs.

Building upon a growing profile, Mayflower Madame supported Premonition EP with more touring and appearances across the European festival circuit with stops in France, Germany, the UK and Eastern Europe. So far, the band has shared stages with the likes of Killing Joke, Moon Duo, Night Beats, Psychic Ills, Froth, The Underground Youth, Crocodiles, Cosmonauts and La Femme. Most of this occurred between recording sessions for their forthcoming sophomore album.

Slated for a March 27, 2020 release through a collaboration between French label Only Lovers Records, Portland‘s Little Cloud Records and Parisian label Icy Cold Records, Prepared for a Nightmare reportedly finds the members of Mayflower Madame further developing their unique blend of psych-noir and post punk with elements of shoegaze and noise rock.  “Vultures,” the album’s menacing and propulsive first single manages to recall The Black Angels, My Gold Mask, and Chain of Flowers, as its centered around forceful drumming, shimmering and reverb-drenched guitars and rousing hooks and an enormous sound. The album’s latest single “Swallow” continues in a similar vein as its immediate predecessor: shimmering reverb-drenched guitars, atmospheric synths, a gentle seemingly Texan twang, an enormous hook and a deeply menacing and uneasy vibe. And in some way, the song seems to evoke the feelings of dread and despair that many of us are starting to feel now. 

Continuing an ongoing collaboration with Astrid Serck, the recently released video features a stylistic and hypnotic array of trippy visuals that further emphasizes the song’s sense of menace and unease seen in blood red backgrounds.  

New Video: Rising Oslo-based Psych Act Mayflower Madame Releases a Menacing Visual for “Vultures”

Rising Oslo Norway-based psych rock/post-punk act Mayflower Madame — Trond Fagernes (vocals, guitar, bass), Havard Haga (guitar) and Ola J. Kyrkjeeide (drums) — formed back in 2011. The band’s hazy, smoke-laden sound was conceived in and inspired by their gritty surroundings: they first rehearsed in a desolate, industrial building, where they shared space with a local carwash company. Shortly after their formation, they recorded a four-track demo, which lead to them being named “Unsigned Band of the Week” on one of Norway’s biggest radio stations. 

The band then spent several years touring and playing shows across Scandinavia, carefully honing their sound along the way. The band’s full-length debut, 2016’s Observed in a Dream featured eight tracks of psych rock/shoegaze paired with dark romanticism in a way that was icy, brooding and hauntingly majestic. The Norwegian psych act toured across North America and Europe, followed by 2018’s Premonition EP — four songs of apocalyptic love songs. 

Building upon a growing profile, Mayflower Madame supported Premonition EP with more touring and appearances across the European festival circuit with stops in France, Germany, the UK and Eastern Europe. So far, the band has shared stages with the likes of Killing Joke, Moon Duo, Night Beats, Psychic Ills, Froth, The Underground Youth, Crocodiles, Cosmonauts and La Femme. Most of this occurred between recording sessions for their forthcoming sophomore album. 

Slated for a March 27, 2020 release through a collaboration between French label Only Lovers Records, Portland’s Little Cloud Records and Parisian label Icy Cold Records, Prepared for a Nightmare reportedly finds the members of Mayflower Madame further developing their unique blend of psych-noir and post punk with elements of shoegaze and noise rock.  “Vultures,” the album’s menacing and propulsive first single manages to recall The Black Angels, My Gold Mask, and Chain of Flowers, as its centered around forceful drumming, shimmering and reverb-drenched guitars and rousing hooks and an enormous sound. 

Directed by Astrid Serck, the black and white video is a hypnotic visual featuring a combination of collage-based laminations and imagery, live footage of the band performing and a dance sequenced performed by Norwegian drag artist Remi Johansen Hovda. The video manages to capture the tense and uneasy vibes of the song — and at points it feels as though someone or something is lurking just over your shoulder.